Billboard, citing unnamed sources familiar with the negotiations, reports that the package sold to Warner includes Deftones’ master‑recording royalties, co‑publishing interests and writers’ royalties, effectively transferring a significant share of the band’s future income from both recordings and songwriting. Warner Music Group already owns their master recordings and the band’s publishing has often been overseen by major music publisher Warner Chappell, making this an extension of an existing relationship rather than a new partnership.

One member is said to have retained his portion of publishing and master‑royalty income, while the remaining members opted to sell, though none of the musicians or their management have commented publicly on the arrangement.

Analysts quoted in the reporting suggest Warner paid a “mid‑ to high‑double‑digit multiple” of the catalogue’s annual net income, a ballpark that could place the deal’s value in the tens of millions of dollars depending on when it was signed. Such multiples have become increasingly common in high‑profile rock and pop catalogue transactions, reflecting confidence that classic albums will continue to generate steady revenue for decades.

Deftones royalties and publishing have become increasingly attractive. This is in part due to a recent listening surge that has been driven less by the band’s recent albums, such as 2020’s Ohms and 2025’s Private Music. There has also been renewed appetite for older releases like 1997’s Around the Fur, 2000’s White Pony and 2010’s Diamond Eyes, which have posted substantial year‑on‑year gains in both physical sales and streaming. Retailers and label executives point to a broader resurgence of heavy music among younger listeners, amplified by TikTok trends, festival slots and headline tours, as key factors in introducing Deftones’ catalogue to a new generation.

For fans, the sale is unlikely to change how they listen day‑to‑day, with Deftones’ songs expected to remain available across major streaming platforms and physical formats under the Warner umbrella. Behind the scenes, however, Warner will now exert greater control over licensing and administration of the band’s compositions, potentially opening the door to more prominent marketing campaigns, soundtrack placements and brand partnerships as the company looks to maximise its investment in one of heavy music’s most durable catalogues.

The album features re-recorded and revamped versions of some of Bowie’s much earlier tracks. It was due to be released as a follow-up to 1999’s ‘Hours…’ but was ultimately abandoned after a dispute between Bowie and his then-label Virgin.

Back in 2001, during a virtual chat with fans, Bowie discussed the release of Toy, explaining: “I’m finding EMI/Virgin seem to have a lot of scheduling conflicts this year, which has put an awful lot on the back burner, Toy is finished and ready to go, and I will make an announcement as soon as I get a very real date. Meantime, I’m already started writing and recording for another album. So far I have to say it’s back to experimental. But knowing me, it doesn’t mean that’s how it’ll turn out. I shall be writing and recording throughout the summer, but daddyfying is really my priority at the moment.”

The album was actually leaked online in 2011 and now a decade later it will get an official release as part of Bowie’s new Era Five box set, full details of which are coming later today (September 29).

Bowie’s official Twitter account wrote: “Depending where you are on the planet, if it’s 29th September you might be streaming the radio edit of ‘You’ve Got A Habit Of Leaving’ from the forthcoming ‘Toy’ album, via your favourite streaming service, More details regarding that and the rest of the Era Five box, later today.”

Depending where you are on the planet, if it’s 29th September you might be streaming the radio edit of You’ve Got A Habit Of Leaving from the forthcoming Toy album, via your favourite streaming service. More details regarding that and the rest of the Era Five box, later today. pic.twitter.com/0eD2Q0GaUo

— David Bowie Official (@DavidBowieReal) September 29, 2021

Fans should also expect more David Bowie releases in the future as recently the estate of David Bowie has agreed on a new deal with Warner Music Group that will see the company overseeing his full back catalogue of albums.

Warner Music previously held worldwide rights to the music that was released by Bowie between 1968 and 1999 (up to his October 1999 album hours…) after they acquired the Parlophone Label Group in 2013. This new licensing agreement with Bowie’s estate now means that Warner Music also has the rights to the artist’s back catalogue of music between 2000 and 2016, the year of his death.

The late artist’s albums Heathen, Reality, The Next Day, and ★’(Blackstar) are among the works that will come into the Warner Music fold in 2023. They were originally released via Sony Music.

You can listen to the radio edit of “You’ve Got A Habit Of Leaving” below:

They expressed concern at the so called ‘safe harbour,’ defence which has been plaguing the music streaming debate for a while now which involves services finding ways to avoid paying royalties to artists despite hosting their music. Leathem in particular expressed a strong willingness to work with the government in enforcing new regulations on the industry which may require streaming services or social media platforms to pay more royalties to musicians. However, while both Leathem and Martin did show a willingness to work with the government if new legislation was to be brought into place, there were some areas which both parties were keen to state that these were issues which ought to be raised with record labels, such as the controversial breakages clauses included in record deals where the majority of revenue is generated through streaming.

Artists have argued that clauses which stipulate a deduction of often as much as 10% be taken from their royalties to cover the cost of broken vinyl or CDs, are unfair when physical copies are not making up a significant amount of that revenue, with some even going so far as to claim that the labels are seeking to their own loss of revenue due to streaming at the artist’s expense.

Tune in to our third #MusicStreamingInquiry session with CMOs & music company CEOs:

– Andrea Martin, @PRSforMusic & Peter Leathem, @PPLUK
– David Joseph, @UMusicUK, Jason Iley, @SonyMusicUK & Tony Harlow, @WarnerMusicUK

More info: https://t.co/SheCv5v3Rk https://t.co/3H91Qmq9RY

— Digital, Culture, Media and Sport Committee (@CommonsDCMS) January 19, 2021

In the second portion of the inquiry held yesterday, which is the third instalment in a series of hearings which have been running periodically since October last year with a variety of witnesses being called, consisted of a tense series of questions being posed to record label bosses which was characterised by serial evasiveness by the bosses and increasing frustration for the MPs.

The most difficult question for the bosses to handle was in reference to Spotify claiming that certain labels had in 2017 agreed to allow them to reduce royalties in return for meeting certain economic targets. The MPs pressured the label bosses to state whether or not artists had suffered a reduction in royalties as a result of this deal but none of the executives were able to give a convincing answer, despite claiming that the amount of money they paid to artists has increased.

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#TheShowMustBePaused

A post shared by Universal Music UK (@umusicuk) on Jun 1, 2020 at 1:11am PDT

The three major labels, Sony Music, Warner Music, and Universal Music, along with their subsidiaries, announced their partaking through social media today. Universal Music Group made a statement which reads “This Tuesday, June 2, the Universal Music Group family will observe “Black Out Tuesday” – a day to contemplate, connect, and organise,” using the hashtag #TheShowMustBePaused.

Universal UK will also be showing their support, saying “Universal Music UK stands proudly alongside the black community against all forms of racism, bigotry and injustice.” Further statements were made by Sony, as well as Columbia Records, Apple Music, and Interscope Records, who will be spending the rest of the week “taking long-term action”.

 

 

 

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  A post shared by Interscope Records (@interscope) on May 31, 2020 at 10:57am PDT

‘Black Out Tuesday’ will allow employees to reflect, connect, and take action. Whether the time is spent protesting, donating, or spreading the word, the music industry has shown that racism and injustice will not be tolerated. Artists who have joined the fight include Yungblud, Sam Fender, Mahalia, Ariana Grande, Halsey, and Beyoncé.

#TheShowMustBePaused is an initiative that is perfectly explained by Jamila Thomas and Brianna Agyemang of Atlantic Records, the two women who created it. In their statement, they wrote “The music industry is a multi-billion dollar industry. An industry that has profited prominently from Black art,” continuing, “This is not just a 24-hour initiative. We are and will be in this fight for the long haul.”

 

 

 

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#TheShowMustPause tomorrow. A post shared by Kojo Ebro Odogwu (@oldmanebro) on Jun 1, 2020 at 7:28am PDT